God versus Man: The Antagonist in Emily Dickinson's "Victory Comes Late"

God versus Man:

The Antagonist in Emily Dickinson's "Victory Comes Late"

 

Emily Dickinson's "Victory Comes Late" has been read and interpreted by many critics more as a work of literature explicitly reflecting the author's (Emily Dickinson's) disposition in matters of sexual fulfillment, death, spiritual battle and most interesting, God in his role in the affairs of human beings.

In just 14 lines, "Victory Comes Late" rolls out a sea of thoughts, which in an obscure manner describes God as the main antagonist to the human race – a God who nevertheless allows his beloved creations to suffer. As opposed to God's faithfulness to animals, Dickinson's "Victory Comes Late" portrays him (God) as aloof to men; depriving them with apathy, the pleasure of victory – a craving most dear to their hearts.

Are these conclusions, expressed by analysts and critics alike, the original intents of the phenomenal Emily Dickinson? Is there a trace of irony in her description of the relationship between God and man? Is there a puzzle, tucked away in her triangulated nexus of relationship between God, man and birds and whose unraveling would lend the poem to another entirely unique perspective? The attempt to address these questions is the central focus of this research paper.

Unearthing the hidden lessons in "Victory Comes Late" is almost impossible without understanding who the poet really is. Unlike so many other poets and like many others, Emily Dickinson's works are inextricably knotted into her personal life. Dickinson's personalities can be hurriedly surmised as "unfulfilled", "simple", "troubled" and "obsession with death" (Dickinson Emily, 1830 – 1886). If it is on this basis that "Victory Comes Late" has been analyzed and interpreted, then it is possible that some error in interpretation might have occurred, and so it becomes beneficial, not for the purpose of this paper alone, but to the academia, to save this vague, yet exceptional literary work from going down in academic history as one of the enduring, but misunderstood works of literature.

For the purpose of a attaining a fresh analysis, "Victory Comes Late" will be restructured into four parts. Each of these parts contains themes which are in themselves distinctive, but when combined create the conflict of the poem. It is the understanding and resolution of this conflict that holds the key to understanding the hidden message in the poem.

The first part of the poem contains its first six lines. The part has as its central theme, "death". This part of the poem talks about a soldier's unfulfilled desire to savor the taste of victory, which though eventually comes, was late in arriving and was tasteless, because now it is "held low to freezing lips" (line 2). In part, this section of the poem appeals to the reader's imagination. Likewise it elicits sympathy towards the fated soldier, who dies before his camp attains victory. On the other hand, the unpunctuated rhetoric "How sweet it would have tasted" (line 5) draws attention to the feelings of the poet herself, who expresses sadness at the tragedy that befalls the dying or dead soldier.

Documented reports of Dickinson's letters reveal that the expressions in the first part of the poem might have been influenced by the death of a soldier by the name Frazer Sterns, towards whom Dickinson appears to have an emotional attachment with and to whom she expresses much emotional concern. Dickinson's letter stated that Frazer, having been mortally wounded in battle; possibly the American Civil War (1861-1865), "lived ten minutes in a soldier's arms, asked twice for water – murmured just "My God!" and passed!". This graphic illustration of Frazer's last moments is perfectly invoked in words in the first six lines of "Victory Comes Late". Moreover, Emily Dickinson's emotional expression in this part of the poem influences her tone, mood and thought in the second part of the poem. 

Observably, the first part of the poem is expressed in a tone of "somberness". In the second part (line 7-10), the tone of the speaker turns "confrontational" – a normal reaction emanating from anger, after a period of deep emotional pain or great loss. It is here that most analysts seize the chance to conclude on who the antagonist of the poem is – God?

Judging by the chain of events as expressed in real life and recreated into the poem, one can conclude that Dickinson had questioned God's graciousness. "Was God so economical?" Another rhetoric, either suggests that the poet thinks or belief that God permits people whose lives are precious to die or that he preserves the lives of others' beloved ones, but not hers. Most interpretation of this part of the poem is based on two aspects of Dickinson's life – her resistance to "give herself to Christ" (Dickinson Emily, 1830-1886) and the other, her life of unfulfilled love, which also appears to be her reason for having withdrawn early from public life.

But on a much closer and objective look, Dickinson's tone and thought based on the description of God, as "economical" could have been just a normal irrational response, which any other normal human being could have given as response in the situation. Her intention could be not to imply that God was aloof. In fact, lines 8-10, could be interpreted otherwise. They could mean that Dickinson holds God in awe and not contempt. For instance, "His Table's spread too high for Us", which has been copiously interpreted to mean God's being aloof could have implied the exceeding greatness of God in comparison to man or Dickinson's belief that God was too great to be her friend – a reason for her resistance to be a Christian. "Unless we dine on tiptoe" (line 9) could be interpreted as Dickinson's observation of the reverence people around her (the puritans of her time) displayed in their worship of God.

The third part of the poem, lines 11-12 completes the triangulated relationship. It brings animals into the union upon which Emily writes "Victory Comes Late". "Cherries suit Robins" (line 11) and "The Eagles Golden Breakfast strangles – Them" changes Dickinson's tone to "rationalization" or "solace seeking". In this part of the poem, overlooked in most analysis of "Victory Comes Late", Dickinson draws on the contentedness she observes in animals. Her choice of using birds symbolizes "freedom" and "liberty" – common words in the American society of that time. The birds are comfortable with their provision; in fact, it appears that they are overwhelmed with God's provision for them. His provision "strangles" (line 12) these animals. In essence, the are satisfied than human beings.

The last part of the poem (lines 13-14) shows a change in tone; this time to "acceptance" and "resolve". Here, Dickinson addresses God, not with confrontation, but with adoration. He (God) "keep(s) His Oath to Sparrows" – meaning God remains faithful even to creatures below man. The final line speaks more than the previous thirteen lines. Here, the conflict raised in the first and second parts of the poem is resolved. "Who of little love – know how to starve" (line 14) balances the relationship between God, man and animals. Birds (or animals) in general, though not as blessed as man are contented with their status, but not the same with man. At this juncture, God is absolved of his assumed role as mankind's antagonist. Animals are reaffirmed as appreciative of what the creator provides for them daily. Man, is however, exposed as the cause of his own suffering – a calamity he brings on himself; because, unlike animals or other creatures of God, they (human beings) are always unsatisfied and ungrateful.

As earlier mentioned, events of the Civil War and other social upheavals in the 19th century greatly influenced the composition of "Victory Comes Late". Not just the Civil War, but the various riots, the slavery, the political cum economic contentions between the North and the South and attendant bloodshed gave impetus to Emily Dickinson's inner agitation as to when all the unrest would end. In contrast, she observes nature and finds the birds and other animals living harmoniously with each other. Her question could have been, "Is it not the same God, who has so blessed these animals that oversees the affairs of these men, who kill themselves daily?" And then, touched by the death of a dear one, who passed away not naturally, but in the course of an avoidable war, Dickinson's outburst was inevitable – "Was God so economical?" serves as an appropriate question to the puzzled Dickinson.

The author's expressions in the poem appear to be spontaneous and spontaneous they are, because, Dickinson's poems were hardly meant for production during her lifetime. So like many others, she just kept building an archive of letters and poems stashed away in her house, but discovered after her death and made available for publishing afterwards. In fact, Dickinson is recorded not as the celebrity of the arts that she has become today. Hence, her works and most especially in consideration, "Victory Comes Late" cannot be totally interpreted or analyzed based on her observable personality. The exercise of basing the interpretation of her work such as "Victory Comes Late" on her outward personality would in the end backfire, eroding the other positive qualities that she might otherwise possess. However, if we can attempt to probe into the person Dickinson could be on the inside, we might be able to appreciate better, the hidden lessons in a poem such as "Victory Comes Late".

In conclusion, Emily Dickinson in her poem "Victory Comes Late" effectively evokes conflicting themes, reinforced by real life events not explicitly linkable to her. In this piece of work, Dickinson employs the mastery of the craft of the application of irony. She mirrors the hypocritical tendency of man to blame God for his own calamities - which are actually the product of his (man's) own avariciousness and endless quest for the utopian and elusive "happiness", not found in his approaches of war waging, discrimination, greed and spiritual aggrandizement, but like the birds, in their contentment with what has been afforded them by God, whose standards and place though so high above, could stoop so low to keep his words as he has promised, even to birds.

 

   

 

Works cited

Dickinson Emily, 1830-1886. Literature Online Biography.

"Dickinson's Victory Comes Late". Katherine A. Monteiro Hanover, New Hampshire. Web.ebscohost.com.

"The Civil War". www.digitalhistory.uh.edu

Writing about fiction. The Bedford Introduction to Literature. Michael Meyer. 9th edition. Boston: Bedford/St. Martins, 2011. 52-71. Print

"Writing a Research Paper". Jack Raymond Baker, Allen Brizee. Purdue Online Writing Lab. 2010.

 

About the Author

Nelson Oluwabukola Michae has an Associate Degree in Mass Communication and a Professional Diploma in Public Relations from the Nigerian Institute of Public Relations (NIPR). He has served as the Editor-in-Chief of The Precision Newspaper, a community Newspaper that is committed to sensitizing the man at the grassroot on the occurences in his environment. Also, he was the Editor-in-Chief, LASPOTECH Watch, a campus magazine he headed during his National Diploma studies at the prestigious Lagos State Polytechnic in Nigeria. He currently worked as Assistant Public Relations Officer and a Part-Time Lecturer (Public Relations) at the Lagos State Polytechnic, Ikorodu, Nigeria. He is committed to contributing to the growth of businesses through offering professional advise on communication and relationships. He also contributes to the field of International Relations and History. He is currently undertaking studies in Computer Information Systems. He is based in the United States. He is happily and fruitfully married.

Nelly - Here Comes The Boom